Ryman Auditorium
Ryman Auditorium is a historic 2,362-seat live-performance venue and museum located at 116 Rep. John Lewis Way North, in the downtown core of Nashville, Tennessee, United States. It is best known as the home of the Grand Ole Opry from 1943 to 1974. It is owned and operated by Ryman Hospitality Properties, Inc. Ryman Auditorium was listed on the National Register of Historic Places in 1971 and was later designated as a National Historic Landmark on June 25, 2001, for its pivotal role in the popularization of country music. A storied stage for Rock & Roll artists for decades, the Ryman was named a Rock & Roll Hall of Fame Landmark in 2022.
History
Union Gospel Tabernacle
The auditorium opened as the Union Gospel Tabernacle in 1892. Its construction was spearheaded by Thomas Ryman, a Nashville businessman who owned several saloons and a fleet of riverboats. Ryman conceived the idea of the auditorium as a tabernacle for the influential revivalist Samuel Porter Jones. He had attended one of Jones' 1885 tent revivals with the intent to heckle, but was instead converted into a devout Christian who pledged to build the tabernacle so the people of Nashville could attend large-scale revivals indoors. It took seven years to complete and cost. Jones held his first revival at the site on May 25, 1890, when only the building's foundation and walls had been completed.Architect Hugh Cathcart Thompson designed the structure. Exceeding its construction budget, the tabernacle opened in debt. Jones sought to name the tabernacle in Ryman's honor, but Ryman denied the request several times. When Ryman died in 1904, his memorial service was held at the tabernacle, with Jones officiating. During the service, Jones proposed the building be renamed as Ryman Auditorium, which was met with the overwhelming approval of the attendees. Jones died less than two years later in 1906.
The building was originally designed to contain a balcony, but a lack of funds delayed its completion. The balcony was built and opened in time for the 1897 gathering of the United Confederate Veterans, with funds provided by members of the group. As a result, the balcony was once called the Confederate Gallery. Upon completion of the balcony, the Ryman's capacity rose to 6,000. In 2017, the "Confederate Gallery" plaque was removed and replaced with one that reads "1892 Ryman Auditorium." A stage was added in 1901 that reduced the capacity to just over 3,000.
Under the leadership of Lula C. Naff
Though the building was designed as a house of worship – a purpose it continued to serve throughout most of its early years – it was often leased to promoters for nonreligious events in an effort to pay off its debts and remain open. In 1904, Lula C. Naff, a widow and mother who was working as a stenographer, began to book and promote speaking engagements, concerts, boxing matches, and other attractions at the Ryman in her free time. In 1914, when her employer went out of business, Naff made booking these events her full-time job. She eventually transitioned into a role by 1920 as the Ryman's official manager. She preferred to use the name "L.C. Naff" in an attempt to avoid initial prejudices as a female executive in a male-dominated industry. Naff gained a reputation for battling local censorship groups, who had threatened to ban various performances deemed too risqué. In 1939, Naff won a landmark lawsuit against the Nashville Board of Censors, which was planning to arrest the star of the play Tobacco Road due to its provocative nature. The court declared the law creating the censors to be invalid.Naff's ability to book stage shows and world-renowned entertainers in the city's largest indoor gathering place kept the Ryman at the forefront of Nashville's consciousness and enhanced the city's reputation as a cultural center for the performing arts, even as the building began to age. Harry Houdini in 1924, W.C. Fields, Will Rogers in 1925, Charlie Chaplin, Bob Hope with Doris Day in 1949, and John Philip Sousa performed at the venue over the years, earning the Ryman the nickname "The Carnegie Hall of the South". The Ryman also hosted lectures by U.S. presidents Theodore Roosevelt and William Howard Taft in 1907 and 1911, respectively. Italian opera singer Enrico Caruso appeared in concert there in 1919. It also hosted the inaugurations of three governors of the state of Tennessee.
The first event to sell out the Ryman was a lecture by Helen Keller and Anne Sullivan Macy in 1913. While being a trailblazer for working women, Naff also championed the cause of racial diversity. The building was used as a regular venue for the Fisk Jubilee Singers from nearby Fisk University, a historically black college. The state's Jim Crow laws required Ryman audiences to be segregated, with some shows designated for "White Audiences Only" and others for "Colored Audiences Only". But period photographs show that, in practice, Ryman audiences were often integrated. Naff retired in 1955 and died in 1960.
''Grand Ole Opry''
After debuting in 1925, the local country music radio program known as the Grand Ole Opry became a Nashville institution. Broadcast over clear-channel AM radio station WSM, it could be heard in 30 states across the eastern part of the nation. Although not originally a stage show, the Opry began to attract listeners from around the region who would go to the WSM studio to see it live. When crowds got too large for the studio, in 1934 WSM began broadcasting the show from the Hillsboro Theatre. The Opry moved to East Nashville's Dixie Tabernacle in 1936 and then to War Memorial Auditorium in 1939.After four years – and several reports of upholstery damage caused by its rowdy crowds – the Opry was asked to leave War Memorial and sought a new home yet again. Thanks to Ryman Auditorium's wooden pews and central location, Naff and other institution leaders thought the auditorium would be a perfect venue for such an audience. They began renting the venue to WSM for its shows. The Grand Ole Opry was first broadcast from the Ryman on June 5, 1943, and it originated there every week for nearly 31 years thereafter. Every show sold out, and hundreds of fans were often turned away.
During its tenure at Ryman Auditorium, the Opry hosted the major country music stars of the day and became a show known around the world. In addition to its home on WSM, portions of the show were also broadcast on network radio and television to a wider audience. Melding its then-current usage with the building's origins as a house of worship, the Ryman got the nickname "The Mother Church of Country Music", which it holds to this day.
Because of the period during which it was constructed and because it was not designed to be a performance venue, the Ryman lacked a true backstage area. It had only one dressing room for the men, and women were relegated to an inadequate ladies' restroom. The shortage of space forced performers to wait in the wings, the narrow hallways, and the alley behind the building's south wall. Thus, many performers often ventured across the alley to Tootsie's Orchid Lounge and other bars, where they drank alongside patrons and sometimes performed. This practice enhanced the popularity and appeal of the honky-tonk bars along Nashville's Lower Broadway.
The Ryman through the mid-1960s hosted many musicians: Marian Anderson in 1932, Bill Monroe and the Bluegrass Boys in 1945, Little Jimmy Dickens in 1948, Hank Williams in 1949, The Carter Sisters with Mother Maybelle Carter in 1950, Elvis in 1954, Johnny Cash in 1956, trumpeter Louis Armstrong in 1957, Patsy Cline in 1960, Lester Flatt & Earl Scruggs in 1964, and Minnie Pearl in 1964.
Prior to September 27, 1963, Ryman Auditorium had no singular owner; it was an independent entity governed by a board of directors. That changed when WSM, Inc., purchased the building for. When WSM assumed total control of the auditorium, it renamed the building as the Grand Ole Opry House. Many people continued to refer to it by the familiar Ryman name, well-known after 60 years in use.
WSM financed minor upgrades to the Opry House in 1966 to maintain its functionality, but soon began making plans to move the Opry to a new location altogether. Despite the building's deteriorating condition, the lack of air conditioning, and the abundance of unsavory surroundings in its urban neighborhood, the show's increasing popularity often attracted crowds too large to fit inside the venue. Plans announced in 1969 centered around a larger, custom-built auditorium that would provide a more controlled and comfortable atmosphere for audiences and performers alike, as well as better radio and television production facilities.
The company purchased a large tract of land in a then-rural area a few miles away. The new Opry theater served as the anchor of a grand entertainment complex. The development became known as Opryland USA. It eventually included the Opryland theme park and the Opryland Hotel.
The amusement park opened on May 27, 1972, and the new venue debuted on Saturday, March 16, 1974. The last Opry show at the Ryman occurred the previous evening, on Friday, March 15. The final shows downtown were emotional. Sarah Cannon, performing as Minnie Pearl, broke character and cried on stage. In an effort to maintain continuity with the Opry's storied past, a large circle was cut from the floor of the Ryman stage and inlaid into the center of the new Opry stage. In another traditional holdover, the new Opry House was also designed to feature pew seating, although they are cushioned.
Eventually and without fanfare, the building downtown resumed using the Ryman Auditorium name to differentiate it from the new Grand Ole Opry House.
Facing demolition
When the plans for Opryland USA were announced, WSM president Irving Waugh also revealed the company's intent to demolish the Ryman and use its materials to construct a chapel called "The Little Church of Opryland" at the amusement park. Waugh brought in a consultant to evaluate the building, noted theatrical producer Jo Mielziner, who had staged a production at the Ryman in 1935. He concluded that the Ryman was "full of bad workmanship and contains nothing of value as a theater worth restoring." Mielziner suggested the auditorium be razed and replaced with a modern theater. But Waugh's plans were met with resounding resistance from the public, including many influential musicians of the time. Architectural critic Ada Louise Huxtable ridiculed the decision in The New York Times, writing: "First prize for the pious misuse of a landmark, and a total misunderstanding of the principles of preservation. Gentlemen, for shame."However, Roy Acuff, an Opry stalwart and a major stakeholder of Opryland USA, reportedly said, "I never want another note of music played in that building." He led the unsuccessful charge to tear down the Ryman. Acuff, a staunch supporter of moving the Opry to a modern home, told The Washington Post in 1974, "Most of my memories of the Ryman Auditorium are of misery, sweating out here on this stage, the audience suffering too... We've been shackled all of my career." Acuff notably hated the dressing room situation at the Ryman so much that he bought a nearby building just to have a bigger one. A life-sized statue of Acuff has been installed in the lobby of the preserved Ryman Auditorium.
Members of historic preservation groups argued that WSM, Inc. exaggerated the Ryman's poor condition, saying the company was worried that attachment to the old building would hurt business at the new Opry House. Preservationists emphasized the building's importance to regional religious history and gained traction for their case as a result. The building was formally assessed and approved for the National Register of Historic Places in 1971. In 1974, United States Senators from Tennessee Howard Baker and Bill Brock, together with officials of the United States Department of the Interior, pleaded with WSM, Inc. to preserve the building. The company tabled the decision on the Ryman's fate. The building was ultimately saved from demolition, although no active efforts were made to improve its condition.